<p><span><span>- The solo albums of famous lead singers are often predictable but with Matt Berninger, the singer and lyricist of <strong>The National</strong>, the outcome was difficult to anticipate. The main reason being that Berninger does not play a single instrument and has no part in the writing of <strong>The National</strong>’s music. However, what is predictable is Berninger’s enamouring baritone and wonderfully neurotic lyrics. Written with a bevy of indie rock artist and produced by the legendary <strong>Booker T. Jones</strong>, Berninger’s debut solo album, <em>Serpentine Prison</em>, is a album redolent of classic singer-songwriters like <strong>Leonard Cohen</strong> and <strong>Nick Cave </strong>and stands well in that company.</span></span></p>
<p><span><span>Although the record features a plethora of musicians, from <strong>Gail Ann Dorsey </strong>(<strong>David Bowie</strong>’s bassist), to <strong>Matt Barrick</strong> and <strong>Walter Martin</strong> of <strong>The Walkmen</strong> to <strong>Andrew Bird</strong>, it is surprisingly cohesive. Most of the songs build around acoustic instruments and feature deft organ playing by Jones. Starkly contrasting The National’s latest opus, <em>I Am Easy To Find</em>, this album leaves copious breathing room, letting the focus be on Berninger. A loyal disciple of <strong>Nick Cave</strong>, Berninger summons his swagger on the biblical <em>Loved So Little</em>, to great effect. While he's no stranger to despair, the lyrics on the maudlin <em>Oh Dearie </em>are despondent, even by his standards. Particularly pertinent in 2020, the narrator sighs, “<em>haven’t talked to no one / I don’t know in how long</em>/ <em>I’m near the bottom / Name the blues I got them / I don’t see no brightness / I’m kinda starting to like this</em>.” In the middle eight, it takes a suicidal turn as “<em>Boot straps are in the basement / Guess I’ll use my laces</em>.” Well, it ain't been easy.</span></span></p>
<p><span><span>On one of the most interesting songs here, <em>Collar Of Your Shirt</em>, Berninger eschews a straight forward song structure, instead hemming one together (sorry) from two seemingly disparate parts. Lyrically, Berninger sings about being unwanted as he bemoans, “<em>I’m always in the way</em>” before the line, “<em>W</em><em>henever I approach you, your body language changes</em>”. Penultimate track, <em>All For Nothing</em>, is another downer, where Berninger sings nihilistically over a plaintive piano and elegiac horns. Although this would’ve been a heavy-hitting way to finish the album, <em>Serpentine Prison</em> ends on a brighter note (albeit only slightly) with the title track. Featuring some gently plucked acoustic guitar strings, subtle horns and melodic organ, it is the sweet twist for all the preceding bitterness, giving you what you need to come back for another listen. I think you will too: whether its camaraderie during this hell of year or something else, further down the track, there's something good about <em>Serpentine Prison</em>. I didn't have too many expectations for Matt Berninger and he may have been hiding a classic up his sleeve.</span></span></p>
<p><span><span>- Jonathan Cloumassis.</span></span></p>
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